LITMIR.BIZ

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      Who was responsible for the reform of the summer-house? The new tenant at Windygates was responsible.

      And who was the new tenant?

      Come, and see.

      In the spring of eighteen hundred and sixty-eight the summer-house had been the dismal dwelling-place of a pair of owls. In the autumn of the same year the summer-house was the lively gathering-place of a crowd of ladies and gentlemen, assembled at a lawn party—the guests of the tenant who had taken Windygates.

      The scene—at the opening of the party—was as pleasant to look at as light and beauty and movement could make it.

      Inside the summer-house the butterfly-brightness of the women in their summer dresses shone radiant out of the gloom shed round it by the dreary modern clothing of the men. Outside the summer-house, seen through three arched openings, the cool green prospect of a lawn led away, in the distance, to flower-beds and shrubberies, and, farther still, disclosed, through a break in the trees, a grand stone house which closed the view, with a fountain in front of it playing in the sun.

      They were half of them laughing, they were all of them talking—the comfortable hum of their voices was at its loudest; the cheery pealing of the laughter was soaring to its highest notes—when one dominant voice, rising clear and shrill above all the rest, called imperatively for silence. The moment after, a young lady stepped into the vacant space in front of the summer-house, and surveyed the throng of guests as a general in command surveys a regiment under review.

      She was young, she was pretty, she was plump, she was fair. She was not the least embarrassed by her prominent position. She was dressed in the height of the fashion. A hat, like a cheese-plate, was tilted over her forehead. A balloon of light brown hair soared, fully inflated, from the crown of her head. A cataract of beads poured over her bosom. A pair of cock-chafers in enamel (frightfully like the living originals) hung at her ears. Her scanty skirts shone splendid with the blue of heaven. Her ankles twinkled in striped stockings. Her shoes were of the sort called “Watteau.” And her heels were of the height at which men shudder, and ask themselves (in contemplating an otherwise lovable woman), “Can this charming person straighten her knees?”

      The young lady thus presenting herself to the general view was Miss Blanche Lundie—once the little rosy Blanche whom the Prologue has introduced to the reader. Age, at the present time, eighteen. Position, excellent. Money, certain. Temper, quick. Disposition, variable. In a word, a child of the modern time—with the merits of the age we live in, and the failings of the age we live in—and a substance of sincerity and truth and feeling underlying it all.

      “Now then, good people,” cried Miss Blanche, “silence, if you please! We are going to choose sides at croquet. Business, business, business!”

      Upon this, a second lady among the company assumed a position of prominence, and answered the young person who had just spoken with a look of mild reproof, and in a tone of benevolent protest.

      The second lady was tall, and solid, and five-and-thirty. She presented to the general observation a cruel aquiline nose, an obstinate straight chin, magnificent dark hair and eyes, a serene splendor of fawn-colored apparel, and a lazy grace of movement which was attractive at first sight, but inexpressibly monotonous and wearisome on a longer acquaintance. This was Lady Lundie the Second, now the widow (after four months only of married life) of Sir Thomas Lundie, deceased. In other words, the step-mother of Blanche, and the enviable person who had taken the house and lands of Windygates.

      “My dear,” said Lady Lundie, “words have their meanings—even on a young lady’s lips. Do you call Croquet, ‘business?’ ”

      “You don’t call it pleasure, surely?” said a gravely ironical voice in the back-ground of the summer-house.

      The ranks of the visitors parted before the last speaker, and disclosed to view, in the midst of that modern assembly, a gentleman of the bygone time.

      The manner of this gentleman was distinguished by a pliant grace and courtesy unknown to the present generation. The attire of this gentleman was composed of a many-folded white cravat, a close-buttoned blue dress-coat, and nankeen trousers with gaiters to match, ridiculous to the present generation. The talk of this gentleman ran in an easy flow—revealing an independent habit of mind, and exhibiting a carefully-polished capacity for satirical retort—dreaded and disliked by the present generation. Personally, he was little and wiry and slim—with a bright white head, and sparkling black eyes, and a wry twist of humor curling sharply at the corners of his lips. At his lower extremities, he exhibited the deformity which is popularly known as “a club-foot.” But he carried his lameness, as he carried his years, gayly. He was socially celebrated for his ivory cane, with a snuff-box artfully let into the knob at the top—and he was socially dreaded for a hatred of modern institutions, which expressed itself in season and out of season, and which always showed the same, fatal knack of hitting smartly on the weakest place. Such was Sir Patrick Lundie; brother of the late baronet, Sir Thomas; and inheritor, at Sir Thomas’s death, of the title and estates.

      Miss Blanche—taking no notice of her step-mother’s reproof, or of her uncle’s commentary on it—pointed to a table on which croquet mallets and balls were laid ready, and recalled the attention of the company to the matter in hand.

      “I head one side, ladies and gentlemen,” she resumed. “And Lady Lundie heads the other. We choose our players turn and turn about. Mamma has the advantage of me in years. So mamma chooses first.”

      With a look at her step-daughter—which, being interpreted, meant, “I would send you back to the nursery, miss, if I could!”—Lady Lundie turned and ran her eye over her guests. She had evidently made up her mind, beforehand, what player to pick out first.

      “I choose Miss Silvester,” she said—with a special emphasis laid on the name.

      At that there was another parting among the crowd. To us (who know her), it was Anne who now appeared. Strangers, who saw her for the first time, saw a lady in the prime of her life—a lady plainly dressed in unornamented white—who advanced slowly, and confronted the mistress of the house.

      A certain proportion—and not a small one—of the men at the lawn-party had been brought there by friends who were privileged to introduce them. The moment she appeared every one of those men suddenly became interested in the lady who had been chosen first.

      “That’s a very charming woman,” whispered one of the strangers at the house to one of the friends of the house. “Who is she?”

      The friend whispered back.

      “Miss Lundie’s governess—that’s all.”

      The moment during which the question was put and answered was also the moment which brought Lady Lundie and Miss Silvester face to face in the presence of the company.

      The stranger at the house looked at the two women, and whispered again.

      “Something wrong between the lady and the governess,” he said.

      The friend looked also, and answered, in one emphatic word:

      “Evidently!”

      There are certain women whose influence over men is an unfathomable mystery to observers of their own sex. The governess was one of those women. She had inherited the charm, but not the beauty, of her unhappy mother. Judge her by the standard set up in the illustrated gift-books and the print-shop windows—and the sentence must have inevitably followed. “She has not a single good feature in her face.”

      There was nothing individually remarkable about Miss Silvester, seen in a state of repose. She was of the average height. She was as well made as most women. In hair and complexion she was neither light nor dark, but provokingly neutral just between the two. Worse even than this, there were positive defects in her face, which it was impossible to deny. A nervous contraction at one corner of her mouth drew up the lips out of the symmetrically right line, when, they moved. A nervous uncertainty in the

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